If I switch showrunners and I get to stay on the show, I approach it like it's their show, and I'm here to write their music for them.

With television you are producing hours and hours of music and for film it is a shorter experience for both the audience and for you as a composer.

When you change showrunners, it's like getting divorced and getting remarried.

I'm not a good enough musician to like completely master something in a couple of days and turn it around.

Tension, especially with regard to horror, is a very difficult thing to sustain in the big sense.

I think the thing that music can do is be unsettling. It is abnormal - music that's perceived to be different in an unresolved or unusual way.

What I love more than anything is Jerry Goldsmith's 80's music and Bernard Herrmann's genre music from the 50's and 60's.